BERLIOZ L’enfance du Christ (Davis)
View record and artist detailsRecord and Artist Details
Composer or Director: Hector Berlioz
Genre:
Vocal
Label: Chandos
Magazine Review Date: 03/2019
Media Format: Super Audio CD
Media Runtime: 90
Mastering:
DDD
Catalogue Number: CHSA5228
Tracks:
Composition | Artist Credit |
---|---|
(L') Enfance du Christ |
Hector Berlioz, Composer
Andrew Davis, Conductor Andrew Goodwin, Tenor Andrew Staples, Tenor Hector Berlioz, Composer Matthew Brook, Bass-baritone Melbourne Symphony Orchestra Melbourne Symphony Orchestra Chorus Roderick Williams, Baritone Sasha Cooke, Mezzo soprano Shane Laurencev, Bass-baritone |
Author: Tim Ashley
Once we reach the stable in Bethlehem, however, Davis’s conducting acquires greater focus. Everything is now beautifully paced and shaped, the dramatic and the devotional brought into careful alignment. Time briefly seems to stand still in ‘Le repos de la Sainte Famille’, and there’s real tension when the Holy Family arrive in Saïs, only to meet with rejection from the city’s xenophobic inhabitants, followed by a palpable surge of relief when they finally find refuge among the Ishmaelites. The solo singing is comparably more persuasive, too. Though not quite equalling the sublimity of Anne Sofie von Otter for John Eliot Gardiner (Erato, 1/98) or Janet Baker on Colin Davis’s second recording (Philips, 1/98), Sasha Cooke makes a radiant Mary opposite Roderick Williams’s tenderly solicitous Joseph. Staples, awed by the tale he is telling, is consistently good. And Brook really comes into his own as the Ishmaelite Father, singing with deep sincerity and fervour.
The Melbourne Symphony, meanwhile, sound very warm and plush, perhaps a bit too much so for some tastes in this work, but their playing is beautifully articulated and detailed. The set’s principal strength, however, lies in the choral singing, which is superb throughout in its clarity, balance and dynamic control: ‘L’adieu des bergers’ sounds ravishing; the careful shading of the unaccompanied closing chorus takes your breath away; and we finally realise that after that indifferent opening, the performance has gradually evolved into something profoundly touching. Not a first-choice recording for the work, perhaps, though the best of it is very fine indeed.
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